B2-.550 FLIGHT Study 3
Peter Burke
B2-.550 Flight Study 3, 2026
Drawing
32 x 25.5 cm
12.6 x 10 in.
12.6 x 10 in.
B2-550 Flight Study 3 by Peter Burke is a carbon drawing that extends the artist’s ongoing investigation into the staircase as a conceptual and psychological structure. Within Burke’s wider practice, the flight of stairs operates as a recurring motif through which ideas of movement, transition, and human experience are continuously re-examined across both sculptural and drawn forms.
Rendered in carbon, the drawing emphasises tonal variation, immediacy of gesture, and the sensitivity of layered mark-making. The composition is built from shifting densities of line and shadow, suggesting fragmented architectural space without resolving into a stable or fully constructed environment. Instead, the staircase is implied through rhythm and interval, where steps and voids emerge as perceptual suggestions rather than defined physical elements.
As with the preceding studies, Flight Study 3 reduces the architectural motif to its essential structure: a sequence of transitions that can be read as either ascent or descent. This ambiguity is central to Burke’s approach, allowing the work to hold multiple directions simultaneously. The staircase becomes less a physical object and more a diagram of movement through experience, memory, and thought.
In contrast to Burke’s steel and gold leaf sculptures, which emphasise material presence and surface transformation, the carbon drawing operates within a more introspective register. It captures not the solidity of construction but the instability of perception, where form is continuously formed and unformed through the act of looking. The absence of material weight allows the work to focus on spatial suggestion and psychological resonance.
Measuring 45 x 45 cm, Flight Study 3 retains the contained clarity of a study while deepening the conceptual exploration of the series. It functions as both investigation and reflection, holding the staircase in a state of flux where meaning is not fixed but generated through movement, interpretation, and the viewer’s engagement with its shifting spatial logic over time.
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